Design and transgression

• Autor(a) principal: Cauduro, Flávio V.
• Data de Publicação: 2008
• Tipo de documento: Artigo
• Idioma: por
• Título da fonte: Revista FAMECOS: Mídia cultura e tecnologia
• DOI: 10.15448/1980-3729.2001.16.3141
• Texto Completo: https://revistaseletronicas.pucrs.br/ojs/index.php/revistafamecos/article/view/3141
• topic: Communication; design; semiotics; Design; Comunicação; design; semiótica; Imaginário

The field of graphic communication design is undergoing major transformations, arising from the growing disrespect of its modernist canons, inherited from the Bauhaus and the Swiss School, and later consolidated by the International Style chain. Designer creations seen as postmodernists (such as April Greiman, Neville Brody, and David Carson, just to name the best known practitioners in the current setting) reject the a priori precepts of readability and functionality of those movements by cultivating intuition, hybridization , Disorder, improvisation and all kinds of graphic impertinences (fragments, 'juices','noises', defocalization). Seeking to understand the "return" to the creative anarchy that Futurists, Dadaists, Cubists and Expressionists had already exalted at the beginning of the 20th century, we present a brief summary of Julia Kristeva's psychoanalytic theory about the poetic language of the revolutionary movements of artistic creation.